ricbigi Reviews

Love of a Clown - Pagliacci (1948)

An inspired rendition of a popular opera

[10/10 · 3 December 2015]

Mario Costa's PAGLIACCI (1948) is a very satisfying, inspired film adaptation of Ruggero Leoncavallo's popular opera (1892) of the same title. Taking the action outdoors in the beautiful Italian countryside, Costa adds lots of local color to an already exuberant setting by having the townspeople dress in typical Calabrian costumes, thus intensifying the authenticity of the opera's historical locale. To my mind, given the technical difficulties of filming in post-war Italy, this film is a miracle of perfection. Mario Bava's cinematography is breathtaking, making expert use of light and shadow with great sensibility. The sound in the DVD currently available is the best one can have, although I believe that, with adequate means, both image and sound could be rendered even more pristine. My greatest enjoyment, however, derives from the actors: Tito Gobbi (Tonio, Silvio), Afro Poli (Canio) and Gina Lollobrigida (Nedda). Gobbi is wonderful in his dual role. Both Poli and Lollobrigida fill the screen with just the right charge of magnetism. Lollobrigida's Nedda is indeed a grateful surprise, given the fact that the actress was totally inexperienced then. In her second speaking part, Lollobrigida already shows all the qualities that would make her a national and international star in just a few years.

I've Always Loved You (1946)

An utterly romantic film that has its good moments

[8/10 · 17 November 2015]

I love Frank Borzage's films (STREET ANGEL, 7TH HEAVEN, A FAREWELL TO ARMS, DESIRE, THREE COMRADES, THE MORTAL STORM being my favorites). Borzage was a director of immense talent and sensibility, a true master in every sense. I'VE ALWAYS LOVED YOU is his most lavishly produced film, in glorious Technicolor, and contains extremely beautiful sequences, but unfortunately falls short of being a great work. Borden Chase, the screenwriter, must be responsible for this, as he presents the character of the great Maestro Goronoff as not only arrogant, which could be easily understood, but also immature and frankly ridiculous in his womanizing, thus rendering him a type of buffoon most of the time. One can never understand the love that Myra Hassman feels for him, in spite of Catherine McLeod's fine performance. Thus, when the story reaches its first climax and Goronoff tries to steal the brilliance of his pupil first public concert (in Carnegie Hall, of all places) out of sheer jealousy, the impact of the scene is lessened. We never see the somber shades of his personality creeping in. The effect is incongruous. We cannot take this man seriously. Philip Dorn does not help, either. His acting is unnatural, a pure caricature that does not let a possible tragic dimension of his character shine through. Too bad. The ending is satisfying, at least, and we are left with the lovely image of Catherine McLeod in our memory. She was indeed a good actress and deserved to have had a more successful career.

Madame X (1929)

The Divine Miss Chatterton

[9/10 · 13 April 2015]

I have only seen three Ruth Chatterton films: DODSWORTH, FEMALE and MADAM X. I had never heard of Ruth Chatterton before I saw DODSWORTH and had no expectations regarding her as an actress. After seeing DODSWORTH, Ruth Chatterton's elegant persona entered my life forever. FEMALE, seen a couple of years later, was pure delight. What a find! A younger Ruth Chatterton, equally glamorous and equally brilliant, this time delivering a light, witty, winning performance. When I got to MADAM X, I was already a great fan of this divine actress. How can one describe the effect of her acting on one's feelings? I confess I was spellbound from the start. Chatterton's seamless technique renders her emotional outbursts painful to watch, yet we cannot move or breathe and just stand in awe, witnessing an exposure of emotion that is so raw and so true. I have read reviews that criticize Ruth Chatterton for the very qualities that I find attractive and unique in her acting. That only shows that taste is indeed a very subjective thing. MADAM X is an early talkie, static, old-fashioned, a shameless melodrama. I loved it!

Go Naked in the World (1961)

This Property Is Condemned

[8/10 · 12 April 2015]

GO NAKED IN THE WORLD (1961) was born out of time and out of place. This property was developed into a film that has been universally panned by critics and only intermittently enjoyed by connoisseurs and admirers of melodramas. Ranald MacDougall was a talented screenwriter (MILDRED PIERCE, JUNE BRIDE, THE NAKED JUNGLE, among other titles) but had little experience as a director (QUEEN BEE being his most successful effort). GO NAKED IN THE WORLD could have been saved by a director of genius such as Frank Borzage, George Cukor or Douglas Sirk, all three capable of handling this kind of material and transforming it into exciting drama in cinematic terms. MacDougall could not handle his own material. The fact that Charles Walters worked on the film uncredited shows that the production was in trouble. Melodrama as a genre was still quite alive in the late 1950's and early 1960's (LOVE IS A MANY-SPLENDORED THING, PEYTON PLACE, IMITATION OF LIFE, BUTTERFIELD 8 and BACK STREET are proof of that), but it needed to be handled properly in order to be successful. MGM was more interested in promoting BUTTERFIELD 8 (another tragic story about an expensive call-girl being victimized by a hypocritical society), so it let GO NAKED IN THE WORLD sink in its own troubled waters. The production shows several positive qualities: cinematography, production and costume design, for instance. And not all of the acting should be deemed bad. Ernest Borgnine is very effective in his role. Anthony Franciosa was physically right for the part, but his character was poorly conceived, to start with. We cannot understand how such a mature man could let himself be controlled by his father. Perhaps George Chakiris would have given the character the kind of vulnerability it required. Gina Lollobrigida looks absolutely gorgeous, and walks through the picture without getting very involved. No doubt she felt that the film was doomed. Possibly she was given little direction. She does the best she can with her most difficult scenes (the set-up to which she falls victim at the hotel, the desperate dance sequence at the night club in Acapulco), but we sense her emotional distance from the material. Only in her suicide scene she is truly moving. According to her own account, the film was very poorly edited. No matter, I believe that GO NAKED IN THE WORLD can still be enjoyed today. The chance to see Lollobrigida in her prime is already worth my time.

Detective Story (1951)

Riveting, totally engrossing, magnificent ensemble acting

[10/10 · 5 April 2015]

William Wyler shows all his talent and directing genius leading a splendid cast in this adaptation of Sidney Kingsley's 1949 play, set in a New York police station. Other reviewers have already written detailed analyses of this fine film and I should only like to emphasize how deeply impressed I am by a work that seems undeservedly forgotten these days. The excellent script is very well handled in cinematic terms and the action never drags, although mostly set indoors at the police station. The gallery of characters is fascinating. They are all interpreted with great skill by one of the best acting ensembles I have ever seen. Kirk Douglas fully deserved an Oscar nomination for his role as Det. James McLeod (surprisingly, he never got one, but that was the year of Bogart's THE African QUEEN, Brando's A STREETCAR NAMED DESIRE, March's DEATH OF A SALESMAN and Clift's A PLACE IN THE SUN). Eleanor Parker, as McLeod's loving wife, and Lee Grant (recreating her stage role as the young shoplifter) are predictably outstanding. The Academy recognized their work by nominating them for Best Actress (Parker) and Best Supporting Actress (Grant), but that was the year in which Vivien Leigh and Kim Hunter won for their legendary performances in STREETCAR. Grant won the Best Actress Award at the Cannes Film Festival that year, a recognition she fully deserved (for her very first film role; one wonders how many brilliant performances she would have given us had she not been blacklisted by courageously defying the infamous House Committee on Un-American Activities). The remainder of the cast, in which William Bendix stands out as Det. Lou Brody, is a marvel of effortless, natural, intelligent, dynamic exchanges and integration. A masterpiece of its kind.

Frisky (1954)

A joyous, innocent classic from a bygone era

[10/10 · 30 March 2015]

PANE, AMORE E FANTASIA and PANE, AMORE E GELOSIA, both directed with admirable lightness of touch by Luigi Comencini, are representative of the best comedies produced by the Italian cinema in the 1950's. In fact, after two decades of brilliant works directed by the likes of Dino Risi, Mario Monicelli, Pietro Germi and a few others, the golden period of Italian comedy ends abruptly in the late 1970's with the work of Lina Wertmuller. In the two Comencini films we see a marvelous case of typical "Commedia dell'arte" plot, character development and acting styles brought to life in rural post-war Italy. Sagliena could well be Subiaco, Gina Lollobrigida's birthplace, or any other small town in Abruzzo or Lazio. This is comedy of character at its best and Comencini was inspired in casting both films. Vittorio DeSica seldom attained the variety of tone and the beautifully controlled exuberance he displays here, except for his legendary turn as the lawyer in Alessandro Blasetti's ALTRI TEMPI. Gina Lollobrigida's sylvan beauty is pure magic, and her acting is a lesson in "commedia" playing. She could be a perfect Colombina in any Goldoni play. The other actors - Tina Pica, Marisa Merlini, Memmo Carotenuto, Roberto Risso, Virgilio Riento, Maria Pia Casilio - form an ideal ensemble that lends support to the principal players. Two classics movies to be revisited always.

El último cuplé (1957)

A classic.

[10/10 · 9 November 2014]

I had the privilege of seeing EL ULTIMO CUPLE in Paris during the Festival d'Automne in December 1981. Sarita Montiel, absolutely gorgeous in a mink coat, was in attendance and was given a standing ovation at the Saint-Germain-des-Près movie theater where three Montiel films were shown in an all-night presentation. EL ULTIMO CUPLE opened the evening and I was in awe at the beauty and talent of Sarita Montiel. She was charming in her speech to the house, that was fully packed, and I left the movie theater completely in love with the great Spanish star. I had already seen LA VIOLETERA, CARMEN LA DE RONDA, PECADO DE AMOR, MI ULTIMO TANGO, LA REINA DEL CHANTECLER and other Montiel films, but EL ULTIMO CUPLE may well be Montiel's signature performance, followed by LA VIOLETERA, and I have always gone back to it, time after time. This film is a national treasure. I am glad it has been restored and given the proper treatment it deserves.

The Happy Ending (1969)

One of my favorite films

[9/10 · 3 April 2014]

When I first saw THE HAPPY ENDING, back in 1970, I was blown over by the film's sensitive portrayal of an unhappy housewife trying to decide what to do with her life. I took family and friends to see it and most people liked the film, finding it unusually frank as a portrayal of a failed marriage. I still find THE HAPPY ENDING very good. It is aesthetically rooted in the late sixties but that does not diminish its essential value. The all-star cast is excellent (Jean Simmons, John Forsythe, Teresa Wright, Nanette Fabray, Shirley Jones, Bobby Darin, Lloyd Bridges, Tina Louise) and Jean Simmons might have shared the Oscar with Maggie Smith that year. Both actresses deserved to receive acting honors for their respective roles. I love the jazzy music score by Michel Legrand; Marilyn & Alan Bergman's beautiful song-theme for the film is a perennial favorite of mine as far as romantic songs are concerned. All in all, I will always have a special place in my heart for THE HAPPY ENDING.

Solomon and Sheba (1959)

King Vidor's farewell

[8/10 · 3 April 2014]

I saw SOLOMON AND SHEBA (1959) when I was 10 years-old and remember being quite impressed with King Vidor's last film. The production values seemed above average and the actors really stood as ancient figures in a frieze in my schoolboy's imagination. I have been able to watch the film several times since then and can only say that I am happy they did try to finish the film after the catastrophe of Tyrone Power's death. The situation faced by all must have been so desperate that everyone deserves praise for the great common effort necessary to pull the production through. I have reservations regarding the casting of several actors who seem totally wrong in their respective roles, notably George Sanders/Adonijah and David Farrar/Pharaoh. Yul Brynner does a decent job for someone who was rushed into Solomon's role. It is unfair to criticize him, trying to compare his performance to Tyrone Power's as we imagine it to have been. Gina Lollobrigida is excellent as Sheba. In fact, I see her at the center of the whole film, its unifying element. Her beauty is truly breathtaking and her orgiastic dance is the only good thing in a pagan ritual that deserved to be better choreographed. No doubt King Vidor deserved to end his illustrious career with a better film, but SOLOMON AND SHEBA remains a valid effort, nothing he should be ashamed of. Seen today, the film does stand as one of the finer biblical spectacles of the era, way better than THE ROBE (1953), THE SILVER CHALICE (1954) or ESTHER AND THE KING (1960).

The Goddess (1958)

A tour-de-force as I have never seen!

[10/10 · 20 November 2012]

THE GODDESS is not exactly a great film but it is a very interesting one from the point of view of the Hollywood Star System. The production had obviously a very limited budget and the Paddy Chayefsky script could have been altered to better fit Kim Stanley's screen persona (the actress is obviously too old and does not have the beauty to convincingly play a poor young country girl who becomes a highly successful movie star), but in the end that matters little. Kim Stanley's performance is so brilliant, so complex, so achingly true, that one forgets the film's limitations and what remains is a feeling of deep awe in face of so much talent. This is quite possibly the most harrowing, emotionally devastating acting job I have ever seen, along with Liv Ullman's performance in FACE TO FACE. How wonderful to be able to see it over 50 years later! And what a pity that Stanley was not in films more often!

Deceptions (1985– )

Superb production values

[9/10 · 10 May 2012]

I was not expecting much out of this made-for-TV film but found myself enjoying it mostly on account of its production values. The scenes filmed on location in Venice, Rome and London were especially exciting, and the finale was definitely very well done. The only fault: Southern California is unmistakable and cannot pass for Portofino (the yacht scene). Other than that, we are very noticeably in the 80's (hairstyles, fashion), the story has its originality and most of the acting is adequate. Gina Lollobrigida as a sexy movie star-turned-princess is highly enjoyable and glamorous as always. Stefanie Powers does very well as the twin sisters, registering both roles with credibility.

Till the End of Time (1946)

A superb film

[10/10 · 2 May 2012]

It is unconceivable that TILL THE END OF TIME is not celebrated enough for the excellent, superb film that it is. I am still under its spell, having watched it last evening on a DVD I bought in Italy this winter. It is incredible that Europeans are better able to appreciate this fine film than most Americans, as TILL THE END OF TIME has not yet been made available in DVD format in the United States and was released in VHS over twenty years ago! This is a story about young soldiers that come back home from the war, physically or mentally shattered by their recent experiences and often unable to adjust easily to civilian life. The film portrays their feelings with total honesty and we are transported to 1945 Los Angeles in a way that no other films seem able to do. Edward Dmytryk must be praised for his sensitive direction of the material. Guy Madison is very fine indeed in his role, giving a performance worthy of a young Montgomery Clift. Robert Mitchum, still quite young, made me think of Sean Penn in his rough but ultimately warm, sincere way of connecting with people. Finally, all accolades must go to Dorothy McGuire for her handling of a most difficult part. She is totally convincing as the young, sad widow who is trying to make a new start in life, not knowing exactly how. How brilliant she is here! How wonderful she always was throughout her career! I cannot understand how she never got an Academy Award for her work when several lesser actresses did.

The Private Navy of Sgt. O'Farrell (1968)

An unambitious, pleasant little comedy

[7/10 · 13 April 2012]

I have never expected a great deal from Bob Hope's comedies and know perfectly well that his films were meant to amuse their audiences in a lighthearted, unpretentious way. Hope was always the same as an actor but even his sameness was somewhat brilliant and I tend to like him. I remember having had lots of fun seeing THE PALEFACE, Paris HOLIDAY, BACHELOR IN PARADISE and other of his films. THE PRIVATE NAVY OF SGT. O'FARRELL is just an average effort. Frank Tashlin was an excellent director but this is not one of his major comedies. The plot could have resulted in a more substantial screenplay, in better devised and more entertaining comic scenes. The film has an obvious 60's look and no effort was made to give it a more authentic 40's atmosphere. Hope and Diller are their usual selves, and occasionally make one laugh. Gina Lollobrigida is as beautiful as ever but has very little to do. As usual, she is merely seen as a decorative presence. She could be so much more, as we know from films such as COME September, HOTEL PARADISO and BUONA SERA, MRS. CAMPBELL. Mylène Demongeot does a sort of cameo. It would have been to the film's advantage to give her more screen time.

Mistress of the World (1960)

A welcome curiosity

[8/10 · 12 April 2012]

William Dieterle did very good work with the material at hand. For such an unknown piece of filmmaking, the viewing experience is surprisingly pleasant. First of all, this is a spy thriller shot in Europe and Asia, with beautiful location scenes in Stockholm, the French Riviera, Naples, Bangkok, the Thai jungle and Angkor-Vat. The color photography is indeed excellent and one wonders how they managed to get such fine results without incurring into huge expenses. Add to that, a few very decent special effects, keeping in mind the film was produced in 1959-1960. The plot involves typical Cold War themes, dealing with espionage concerning a top secret formula that must not get into the wrong hands. The film could be 20 minutes shorter but one watches it without any difficulty. The international cast deserves praise, especially the excellent Micheline Presle as a spy working for the enemy. Martha Hyer is, as always, a welcome presence in any film. Why Hitchcock never did significant work with her? Incredible!

That Splendid November (1969)

Lollobrigida at 40: simply sublime

[9/10 · 9 April 2012]

I have not read Ercole Patti's novel but Bolognini's UN BELLISSIMO NOVEMBRE seems to be a serious attempt at evoking the Sicilian society depicted by the writer in cinematic terms. This is not a pleasant film. None of the characters are likable and some of them strike one as definitely grotesque. Still, Bolognini shows great understanding of his chosen subject and UBN has many qualities: interesting scenes that comment quite satisfactorily on this particular social milieu, haunting Sicilian locations, excellent cinematography, and a melancholy undercurrent that stays impressed on one's mind. Gina Lollobrigida's Cettina is by far the film's most striking character, a frivolous, amoral woman who does as she pleases in a tightly-controlled, basically rotten family milieu. The actress is most beautiful and portrays her character with her usual intelligence and sensibility, even though most people are unable to see her very real qualities as a performer.

Sunday Bloody Sunday (1971)

A truly unforgettable, emotionally-compelling film

[10/10 · 8 April 2012]

I saw Sunday,BLOODY Sunday when it came out and own it in DVD format. Being born in 1949, I feel totally in touch with this story, its characters, and the superb way John Schlesinger translated it into film. I have seldom seen such a deep, adult treatment of human relationships. SBS is particularly sensitive to the smallest details of what it means to live and love in our times. The Penelope Gilliatt screenplay is so masterful in showing the many aspects of the personal universe of each character that every emotion is perfectly rendered, balancing dark and light moments in just the right way. Peter Finch, Glenda Jackson,Peggy Ashcroft and Bessie Love are a joy to watch, to say nothing of the other actors, all splendid. I treasure this film.

Mi último tango (1960)

Pure nostalgia...and wonderful tangos

[10/10 · 8 April 2012]

MI ULTIMO TANGO is one of the major films in Sara Montiel's career. Notwithstanding the naive screenplay, the relatively poor production values (these films were made under difficult technical conditions on a tight budget - basically the equivalent of American B movies of the forties and fifties), the film is able to entertain and eventually touch the emotional chord of its audience thanks to the sheer talent of a cast of wonderful character actors and the incredible beauty of its star, la Montiel. Americans have no idea how important Sarita Montiel has been to audiences in the Spanish and Portuguese speaking worlds. She enjoys a mythical status on a par with such international actresses such as Brigitte Bardot, Gina Lollobrigida, Sophia Loren, Elizabeth Taylor, Marilyn Monroe and other major names of the fifties and sixties. Maurice Ronet is a captivating romantic lead for this legendary Spanish actress-singer.

The Prize Winner of Defiance, Ohio (2005)

A delicate, highly nuanced film that rings absolutely true

[10/10 · 22 March 2012]

I watched THE PRIZEWINNER OF DEFIANCE, OHIO on DVD two nights ago and was deeply moved by it. Yesterday, as I had my sister (58) and my aunt (77) visiting for the day, I suggested that we watch it together and both of them were also very taken by the film. I think most people, and especially women who lived through the fifties and sixties, can relate to the story of this American family. The whole era is brought back to us in a very intelligent and accurate way, giving us images that are historically correct, often amusing and quite emotionally charged at times. The director must be praised for her masterful adaptation of the original novel and sensitive rendition of the screenplay in cinematic terms. Superb art direction and cinematography make meaningful contributions to the overall quality of the film. The cast is uniformly excellent even to the smallest parts. Woody Harrelson and Julianne Moore are nothing short of outstanding in their respective roles. This is a film that should find a wider audience, given the beauty of its message and its quiet, honest and highly effective emotional content.

Chains (1949)

True emotion

[10/10 · 6 March 2012]

I am new to Raffaello Matarazzo's work. I have only seen three of his films (CATENE, I FIGLI DI NESSUNO e CHI È SENZA PECCATO). They have made a strong impression on me. The stories are old, conventional melodramas, and often border on pure mawkishness, but they are all somehow elevated by the sincerity of the emotion the director is able to create with the material at his disposal. There are scenes, particular moments, that will always remain in my memory. Matarazzo worked with an ensemble of actors, all splendid, and the children show great naturalness before the camera. Amedeo Nazzari and Yvonne Sanson have become favorites of mine from the first time I saw them.

Jamaica Inn (1939)

Average melodrama

[6/10 · 1 March 2012]

JAMAICA INN is a film that I wanted to see mostly because I like Daphne Du Maurier's novels (my favorite is FRENCHMAN'S CREEK) and admire Maureen O'Hara, here in her film début. I must say the film is only average and far below what I have come to expect from Hitchcock. Production values are mediocre and the special effects are atrocious. I ask myself why the wonderful Cornish coast was not used to dramatic effect in this production, as the film was mostly shot in poorly designed studio sets. Charles Laughton gives such a bad performance I could hardly believe my eyes and ears. Maureen O'Hara is lovely, however, and the film is mostly worth watching on her account. She already shows her promise as an actress to splendid effect. Marie Ney as Patience is also very effective in a supporting role.

Iphigenia (1977)

Magnificent

[10/10 · 9 December 2011]

My only regret is that Michael Cacoyannis did not have a large enough budget to give his film the production values that one would expect from a story of such grandiose proportions. He does what he can with the resources available, and that is quite sufficient, but I would have loved to have seen life-size ships instead of small boats as the Greeks are waiting for their departure from Aulis. In the end, however, the artistic quality of his work is so high that nothing else matters. The Euripidean text is more than adequately translated into film. The actors are all superb. My joy at seeing their work is immense. Irene Papas has to be one of the greatest actors in the history of film. Her Clytemnestra makes one understand what lies in the future for Agamemnon. Eugène Ionesco loved this film. I can see why.

Imperial Venus (1962)

A good film that needs better editing

[9/10 · 15 September 2010]

I saw VENERE IMPERIALE when it first came out, in its Italian version, in its full-length, glorious cinematography, and I must say that most reviewers have missed the point in evaluating the film. This is a great epic on the life of a woman legendary for her beauty and love affairs. While many scenes are perhaps too static, resembling scenes from an historical frieze, others have adequate tone, pace and atmosphere, do projecting a real feel for the times and people depicted. I never thought the film was overlong when I saw it, but it is obvious it could have used better editing, a faster pace in some places. Nothing wrong with the art direction and the use of location for the external scenes. If anything, I would have entrusted the screenplay to Jacques Prévert and Jean Aurenche, who did such an outstanding job in NOTRE DAME DE Paris, instead of using five writers as Delannoy did. Too many people, perhaps too many hands involved. Delannoy loved Gina Lollobrigida, and directed her well. I never understood the negative criticisms directed at Lollobrigida as an actress. Those who pan her performance in this film should have a good look at Sophia Loren's in MADAME SANS-GÊNE. That's mediocrity for you. Gina at least was beautiful to look at, and possessed true star quality. One regret, though: why use Micheline Presle so sparingly? She was so wonderful a presence and deserved far more screen time than was given here.

This Special Friendship (1964)

A beautiful, poignant masterpiece

[10/10 · 15 September 2010]

I have long wished to see this film and finally a DVD of it has been made available, so I watched it with enormous curiosity. I must say I am very much touched by LES AMITIÉS PARTICULIÈRES, for everything rings absolutely true in this film. The screenplay by Jean Aurenche and Pierre Bost is perfection itself, rending Peyrefitte's autobiographical novel totally cinematic, visually striking and emotionally devastating. The acting by the two leading men is beyond anything I could have expected from such young performers. Didier Haudepin gives the best performance by a child actor I have ever seen in fifty-some years of film-going, standing alongside the likes of Patty Duke in THE MIRACLE WORKER, Brigitte Fossey in LES JEUX INTERDITS and Enzo Staiola in LADRI DI BICICLETTE. The supporting cast is equally to be praised, particularly the great Michel Bouquet. Frankly, Jean Delannoy deserves ample credit for having brought to the screen a film of such beauty and flawless artistry. I believe François Truffaut has never done anything that even approaches such a high level of film-making.

Three Rooms in Manhattan (1965)

A strange, absorbing film

[9/10 · 29 June 2010]

I've just seen THREE ROOMS IN MANHATTAN and I must confess I am still under the spell of this strange film. Although the story line sounds artificial and a little weird at first glance, every minute of the film is marked by a profound sense of truth. No doubt this is due to the marvelous actors - Girardot and Ronet have done outstanding work here - but Carné must be credited for the moody atmosphere, as well as the sensitive handling of the characters and their personal dramas. Manhattan in the mid-sixties has a palpable feel that is fascinating. The cinematography is excellent, so is the beautiful music score. Both have a haunting, poetic touch. Most importantly, we keep interested in the characters and their destiny to the very end.

Brokeback Mountain (2005)

A Film About the Power of Love

[10/10 · 20 February 2006]

BROKEBACK MOUNTAIN is both a tragic love story and an indictment of bigoted, conservative, Bible-waving America. It shows us in careful detail the development of a special relationship between two men, Ennis Del Mar and Jack Twist, cowboys hired to tend to a flock of sheep in the mountains of Wyoming during the summer of '63. Based on the short-story by Annie Proulx, which was adapted to the screen by Larry McMurtry and Diana Ossana, the Ang Lee film is a masterwork of restraint, subtle yet firm, stark and ultimately indelible in the power of its images. Lee shows us how his two characters are victims of their home environments, limited by poverty and the effects of a conservative upbringing that is psychologically destructive and dehumanizing. Ennis is particularly affected by his personal history, which leads him to be uptight, guarded, emotionally boxed-in; in spite of the hardships of his past and present, Jack is better able to deal with his feelings and express them, both verbally and physically. Set against the splendors of nature, the awakening of love between these men is one of the most breathtakingly beautiful sequences in film history. Never before have I witnessed a film that portrays so well the yearning for love as it imposes itself upon spirits repressed by years of conservative upbringing. And when Ennis and Jack make love for the first time, they are like two cougars mating. All their subsequent love scenes have a sense of urgency, they are violent and lyrical. There is great purity in these men. These are lovers who are not touched by the degrading effects of voluptuousness. As life starts to separate them, one keeps hoping that they will have a chance to be happy together. Ennis's reluctance and inability to fully commit to their relationship eventually brings about the tragic ending. The murder of Jack Twist gives the final scenes an eerie feeling, a special quality of despair that is all the more poignant due to the sober treatment that each individual image is given. BROKEBACK MOUNTAIN is a fundamentally important work. Ang Lee has been justly praised for his sure touch, his highly dignified yet bold and realistic vision of the material. The acting is superlative in every sense. Heath Ledger does wonderful things to express his character's introversion, his deep sensibility beneath a rugged, taciturn, insensitive facade. Jake Gyllenhaal is admirably adept at showing his character's longing for Ennis. His Jack is a jewel of a man: brave, generous, warm, willing to defy society in order to affirm his right to love Ennis. The entire cast deserves recognition for its impeccable ensemble work. Screenplay, cinematography, art direction, music, all contribute to making BROKEBACK MOUNTAIN a superior piece of cinema. Finally, I have the feeling that Brokeback Mountain was indeed the perfect place for these lovers to exist and be together. Its pristine beauty is the perfect setting for the story of a love that is as pure as nature itself.